Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Algeria and from Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1977.
I'm losing my edge.
To all the kids in Bologna and Tokyo.
I'm losing my edge to the art-school Lagos kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1978 at the first Visage practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Rekid to the electroclash kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Blackbyrds. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Todd Terry,
Jacob Miller,
Pagans,
The Blackbyrds,
Grandmaster Flash,
Colin Newman,
The Gories,
Prince Buster,
Harmonia,
Throbbing Gristle,
Neu!,
Kango’s Stein Massive,
Leonard Cohen,
John Coltrane,
Morten Harket,
Echo & the Bunnymen,
The Electric Prunes,
Suburban Knight,
One Last Wish,
The Five Americans,
Underground Resistance,
A Certain Ratio,
Alice Coltrane,
Red Lorry Yellow Lorry,
Funkadelic,
Quantec,
The Moody Blues,
Lou Christie,
Pet Shop Boys,
Pylon,
E-Dancer,
Richard Hell and the Voidoids,
Orchestral Manoeuvres in the Dark,
The Misunderstood,
X-Ray Spex,
Thompson Twins,
Fat Boys,
Dead Boys,
Heaven 17,
Chris & Cosey,
Echospace,
Gil Scott-Heron and Jamie xx,
Monolake,
Young Marble Giants,
Joe Smooth,
Pierre Henry,
Sight & Sound,
Adolescents,
Minutemen,
Simply Red,
Crash Course in Science,
Hashim,
Alton Ellis,
The Standells,
Tropical Tobacco,
Roy Ayers Ubiquity,
The Zeros,
John Holt,
Bad Manners,
Soft Machine,
Lalann,
the Slits, the Slits, the Slits, the Slits.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.